Meg 2: The Trench (2023) Review
‘Meg 2: The Trench’, from cult British director Ben Wheatley, ticks a lot of shark lore boxes and knows exactly what sort of film it is. Stars Jason Statham. Review by Martha Lane.
Read More‘Meg 2: The Trench’, from cult British director Ben Wheatley, ticks a lot of shark lore boxes and knows exactly what sort of film it is. Stars Jason Statham. Review by Martha Lane.
Read MoreNetflix Original ‘They Cloned Tyrone’, starring John Boyega, Teyonah Parris and Jamie Foxx, is enjoyable, funny and entertaining. Review by Martha Lane.
Read MoreThough not one of Pixar’s best films in their beloved canon, Elemental is a heartwarming rom-com with masterful animations that is worth a watch this summer. Review by Emily Nighman.
Read MoreMarley Morrison British seaside holiday film ‘Sweetheart’, featuring the debuting Nell Barlow, is a nuanced exploration of sexuality and a modern twist in the realm of British film. Leoni Horton reviews.
Read More2021 Netflix drama ‘Pieces of a Woman’, from director Kornél Mundruczó, “taps into the idiosyncrasies of womanhood, of loss, of motherhood”. Vanessa Kirby and Ellen Burstyn star, Leoni Horton reviews.
Read MoreWritten and directed by Alan Ball (‘American Beauty’), and starring Paul Bettany, 2020 drama ‘Uncle Frank’ struggles to be genuine in its portrayal of the hardships of the LGBTQ+ community. Leoni Horton reviews.
Read MoreMatthew Fifer’s breathtaking self-penned and co-directed debut project, ‘Cicada’, speaks of the varied manifestations of pain. Movie review by Leoni Horton.
Read More2020 rom-com ‘The Broken Hearts Gallery’, from screenwriter-director Natalie Krinsky and starring Geraldine Viswanathan, demonstrates the timelessness of New York City love stories. Leoni Horton reviews.
Read MoreSequels are infamously difficult to get right, but McG is out to prove a point with ‘The Babysitter: Killer Queen’. Was he able to overcome the sequel curse? Mark Carnochan reviews.
Read MoreNolan frequently assigns his audience chores, engineering his films in such a way that requires them to participate in each narrative actively. ‘Tenet’ is no exception. Leoni Horton explores.
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